Production
The credits cite the bestselling book Fingerprints of the Gods by author Graham Hancock as inspiration for the film, and in an interview with the London magazine Time Out, Emmerich states: "I always wanted to do a biblical flood movie, but I never felt I had the hook. I first read about the Earth's Crust Displacement Theory in Graham Hancock's Fingerprints of the Gods."
Director Emmerich and composer-producer Harald Kloser had an extremely close relationship and also co-wrote a spec script entitled 2012, which was marketed to major studios in February 2008. Nearly all studios met with Emmerich and his representatives to hear the director's budget projection and story plans, a process that the director had previously gone through with the films Independence Day (1996) and The Day After Tomorrow (2004). Later that month, Sony Pictures Entertainment won the rights for the spec script, planning to distribute it under Columbia Pictures and was produced for less than budgeted. According to Emmerich, the film was eventually produced for about $200 million.
Filming was originally scheduled to begin in Los Angeles, California, in July 2008 but instead commenced in Kamloops, Savona, Cache Creek and Ashcroft in British Columbia, Canada. Due to the possible 2008 Screen Actors Guild strike, filmmakers set up a contingency plan for salvaging the film. Uncharted Territory, Digital Domain, Double Negative, Scanline, Sony Pictures Imageworks and others were hired to create computer animated visual effects for 2012.
Although the film depicts the destruction of several major cultural and historical icons around the world, Emmerich stated that the Kaaba was also considered for selection. Kloser opposed the idea out of fear that a fatwā might be issued against him.
Read more about this topic: 2012 (film)
Famous quotes containing the word production:
“The problem of culture is seldom grasped correctly. The goal of a culture is not the greatest possible happiness of a people, nor is it the unhindered development of all their talents; instead, culture shows itself in the correct proportion of these developments. Its aim points beyond earthly happiness: the production of great works is the aim of culture.”
—Friedrich Nietzsche (1844–1900)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
“The growing of food and the growing of children are both vital to the family’s survival.... Who would dare make the judgment that holding your youngest baby on your lap is less important than weeding a few more yards in the maize field? Yet this is the judgment our society makes constantly. Production of autos, canned soup, advertising copy is important. Housework—cleaning, feeding, and caring—is unimportant.”
—Debbie Taylor (20th century)